This is the first studio album of Brown’s that wasn’t a compilation that I’ve ever heard and I have no idea what to do with it. This is Brown’s 38th studio album, which is insane. Brown’s output is just insane which is why most of us are just better off with the boxed set of singles. How does one view this record without having listening to at least some of those 37 previous records? how does one view this without a deep knowledge of where funk was in June of 1972. I don’t have the knowledge of the genre (beyond Read More
Someone described this record as Prince’s White Album. This is only the second Prince album I’ve ever heard (I know, I know) but I still think that’s pretty apt. There’s a range of music here that is kind of incredible, especially given how much of the record he made himself. Read More
I was only familiar with this band from listening to Oldies Radio too much when I was a kid, and from borrowing a Greatest Hits compilation from my dad some time in the last 15 years. Neither of those things could have prepared me for this record. Read More
It’s no secret the influence American funk had on post punk. But Rip Rig + Panic take that influence to extremes not seen in the rest of the movement.And the influence isn’t limited to funk, but extends to many different forms of African American music, including jazz, which should come as no surprise given that the band is named after a Roland Kirk album. The result is certainly the funkiest post punk record I’ve ever heard, as well as the most soulful. It’s also far and away the most jazz oriented, even more so than a band like The Birthday Read More
I think I missed my chance with Funkadelic. I generally like the music but I generally hate the lyrics. Had I discovered Funkadelic between the ages of 17 and 23 I would have absolutely loved that band. Unfortunately, many of the musical things I like Funkadelic’s music significantly more than Parliament’s but there are still these inane, goofy lyrics that do not ingratiate themselves. I get that this is dance music, but listening to it the way I am is not conducive to ignoring the lyrics. This is all very well done, but it is not for me. I like Read More
My first exposure to Funkadelic didn’t exactly endear me to them and I generally want to like this record more. It opens with what I am assuming is the definitive Eddie Hazel guitar solo – that’s all it is, really, though it is pretty great – but the rest of the record is a far cry from that title track. The rest of the record is more what I was expecting. Though the lyrics are just about as inane as I was expecting, the bother me less this time out. And the music underlying it those lyrics is pretty much Read More
I’m glad that Wonder was breaking away from the creative constraints of his label and his handlers. And maybe, if I’d heard those earlier albums, I’d see more daring in this record, in his freeing himself creatively. I’d like to hear that, but without listening to those earlier records, I can’t. Instead, I hear a precocious, bratty kid who has just discovered a whole lot of things including, it seems, some philosophy. And like anyone in their early twenties, he’s really obnoxious about it. (I mean, we can’t possibly know what he’s just learned, right?) His lyrics that aren’t about Read More
I came to James Brown – and soul, funk and so forth – rather late in life, compared to most other genres I have an interest in. And, regardless, I would have never been able to see the Godfather in his prime, had I even wanted to. But I think Charles Bradley probably gave me the closest taste I am going to get. Bradley’s band is a hilarious group of young, almost entirely white, hipsters who play ‘60s Stax-style soul, and ‘60s funk. Bradley himself does a bit of a James Brown thing, with his own spin, but you could Read More
2010, 2011, 2012, 2013, Big Band, Bounce, Cajun, Creole, Dixieland, Funeral Jazz, Funk, Jazz, Katrina, Music, New Orleans, Slice of Life, Trad Jazz, and TV.
This contains some spoilers I wanted to love Treme, I really, really did. I consider The Wire to be the greatest thing in TV drama history, and Generation Kill was pretty good too. But something got lost in the execution here. The characters are interesting, the sense of place is incredible – at least, as someone who has never been to New Orleans, I assume it is incredible – the music is great (though I could rant about the portrayal of modern jazz) and there are moments of greatness. But this is a show that has no plot. I mean, Read More
A great combination of funk and traditional New Orleans sounds. The real deal, I suspect (though I have never been here). I can’t really imagine anyone recording this with the aim of selling records outside of New Orleans. 8/10 Read More
1956, 1958, 1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1976, 1979, 1988, 2003, Compilation, Funk, Music, R and B, and Soul.
James Brown’s importance can not be understated. He is on The List of the most important musical figures of the twentieth century (along with Louis Armstrong, the Beatles, Miles Davis, Dylan, Duke Ellington, Schoenberg, Stockhausen, Frank Zappa and maybe a few others). This compilation of his hit singles gives a very idea of his progression and how he turned gritty soul and R and B into funk and thus got sampled more than any other band leader ever. The one downside is that this compilation of his hit singles is missing one of his biggest hits. Hard to understand that one. Read More